Make Me Over

Vanessa Williams, Whitney Houston and Hollywood’s Misogynoir Problem (Make Me Over, Episode 8) by Karina Longworth

Listen to this episode on Apple Podcasts

In 1983, Vanessa Williams became the first black woman to win Miss America. In 1984, a few weeks from the end of her reign, she was forced to step down when she found out Penthouse was to publish unauthorized nude images of her in their magazine. Williams went on to have a successful singing career and star in movies, too, but her career trajectory tells more than the story of a black beauty icon who overcame obstacles to make it in Hollywood. It's a story that echoes the legacies of racism, colorism, tokenism, and misogynoir (the misogyny experienced specifically by black women) in 20th century Hollywood and how, as a result, black women — from Williams to Whitney Houston — have had to display exceptional talent to make the case that their images are worth circulating and celebrating as beautiful.

This episode was written and performed by Cassie da Costa, an entertainment writer for The Daily Beast. She lives in Ojai, California.

scan_1359524555.jpg

SHOW NOTES: 

Sources specific to this episode:

“Miss America: A History”, missamerica.org

There She Is, Miss America: The Politics of Sex, Beauty, and Race in America’s Most Famous Pageant edited by Elwood Watson and Darcy Martin

You Have No Idea: A Famous Daughter, Her No-nonsense Mother, and How They Survived Pageants, Hollywood, Love, Loss (and Each Other) by Vanessa Williams and Helen Williams

Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval by Saidiya Hartman

From Mammy to Miss America and Beyond: Cultural Images and the Shaping of U.S. Social policy by K. Sue Jewell

“Bob Giuccone, Penthouse Founder, Dies at 79”, obituary by Robert D. McFadden, The New York Times, October 20, 2010, The New York Times

“Bob Guccione’s FBI File: From Direct Mail Smut Peddler To Penthouse Founder” by Unknown, January 18, 2011, Talking Points Memo

“Interview with Penthouse’s Bob Guccione” October 27, 2008, YouTube

“The Indian Miss America and the First Native Miss America” by Indian Country Today, September 19, 2013, Indian Country Today

“Miss America: United States Pageant” by John M. Cunningham, November 8, 2019, Encyclopedia Britannica

“Ex Miss America Vanessa Williams Overcomes Her Disgrace by Showing and Singing the Right Stuff” by John Stark and Michael Alexander, January 30, 1989, People Magazine archives

“How Vanessa Williams Endured Her Miss America Scandal” by Oprah’s Master Class, July 13, 2014, OWN via YouTube 

“Vanessa Williams at age 29 interviewed by Oprah Winfrey”, August 18, 2019, YouTube

“Fifty Years Ago, Protesters Took on the Miss America Pageant and Electrified the Feminist Movement” by Roxane Gay, January 2018 issue, Smithsonian Magazine

“‘You can be unapologetically black’: How Miss Black America has endured 50 years” by Robin Givhan, August 28, 2018, The Washington Post

Vanessa Williams resigns her Miss America title, 1984

Vanessa Williams resigns her Miss America title, 1984

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.  

Excerpts from the following songs were used throughout the episode: 

Innervisions -  Stuart Alexander Elliott, Rick Driscoll, Jacqui Copland
Peacefire - Steve Baker
Beauties American Style - Hans Conzelmann, Delle Haensch
Dixie Blues - Geoffrey Peter Gascoyne
Good Vibe - Richard Glasser, Donald Geoffrey Peake
Ballad - Dick Walter
Dangerline - Giuliano Panella
The Dealer - Andrea Litkei, Ervin Litkei
Contemplation - Hans Haider
Style and Grace - Geoffrey Wilkinson
Beauty Queen - Rolf Anton Krueger
Romantic Soul - Dean Landon, Caron Lyn Nightingale
When Love Comes Around - Paul Lenart, Larry Luddecke
Pendulum - Didier Francois Dani Goret
Love Hope Rebuild - Steve Baker

Whitney Houston’s 1987 album, Whitney

Whitney Houston’s 1987 album, Whitney

Credits:

Make Me Over is a special presentation of You Must Remember This. It was created and directed by Karina Longworth, who also edited the scripts.

This episode was written and performed by Cassie da Costa. 

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Producer: Tomeka Weatherspoon. 

Editor: Jared O'Connell.

Audio engineers: Jared O'Connell, Andrea Kristins and Brendan Burns. 

Supervising Producer: Josephine Martorana. 

Executive Producer: Chris Bannon. 

Logo design: Teddy Blanks and Aaron Nestor.

Vanessa Williams, in a still from Save the Best for Last video, 1991

Vanessa Williams, in a still from Save the Best for Last video, 1991

The Hemingway Curse?: Mariel and Margaux (Make Me Over, Episode 7) by Karina Longworth

Margaux and Mariel Hemingway on the set of Lipstick, photographed by Francesco Scavullo, 1975.jpg

Listen to this episode on Apple Podcasts

A close look at the parallel lives of Margaux and Mariel Hemingway, sisters born with a world-famous last name that stood for both genius and self-destruction. Both rose to fame in the 1970s, Margaux as a supermodel and Mariel as an actress, and then struggled with various demons. But while Margaux followed her grandfather's fate, Mariel confronted the family's dark legacy and reinvented herself as a mental health and wellness advocate.

This episode was written and performed by Michael Schulman, a writer at The New Yorker and the author of "Her Again: Becoming Meryl Streep," a New York Times bestseller. His work has also appeared in Vanity Fair, the New York Times, and other publications. Special thanks to our guest star Tavi Gevinson, who played the Hemingway sisters in this episode. 

Margaux Hemingway Photographed by Francesco Scavullo, Vogue, April 1975

Margaux Hemingway Photographed by Francesco Scavullo, Vogue, April 1975

SHOW NOTES: 

Sources specific to this episode:

Finding My Balance: A Memoir by Mariel Hemingway

Out Came the Sun: Overcoming the Legacy of Mental Illness, Addiction, and Suicide in My Family by Mariel Hemingway

Hemingway: Winner Take Nothing directed by Michael Collins

Running from Crazy directed by Barbara Kopple

“Two Films That Subvert Feminism” by Frank Rich, New York Post, June 12, 1976

“Rape: Does It Wow ’Em in Peoria?” by Marjorie Rosen, Ms., July, 1976

“The Screen: ‘Lipstick’” by Vincent Canby, New York Times, April 3, 1976

“Not the Vintage Margaux” by Kristin McMurran, People, Feb. 8, 1988

“A Life Eclipsed” by Karen S. Schneider, People, July 15, 1996

Woody Allen and Mariel Hemingway in Manhattan, 1979

Woody Allen and Mariel Hemingway in Manhattan, 1979

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.  

Excerpts from the following songs were used throughout the episode: 

Motion Picture - Colin Currie
Objective - Robert Edwards, Mark Anderson
Devil Heart - Daniel Horacio Diaz, Andre Paul Marie Charlier
Space Cocaine - Sammy Burdson, Lewis Parker
Ambient Registers - Colin Currie
Roguish Stroll - Toby Marsden, Harvey David Wade
Mists of Antiquity - Sidney John Kay
Black Virgin - Piotr Moss
A Picture of You - Roman Raithel
Pendulum - Didier Francois Dani Goret

Margaux and Mariel Hemingway at Studio 54, 1979

Margaux and Mariel Hemingway at Studio 54, 1979

Credits:

Make Me Over is a special presentation of You Must Remember This. It was created and directed by Karina Longworth, who also edited the scripts.

This episode was written and performed by Michael Schulman. 

Guest star Tavi Gevinson played the Hemingway sisters. 

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Producer: Tomeka Weatherspoon. 

Editor: Jared O'Connell.

Audio engineers: Jared O'Connell, Andrea Kristins and Brendan Burns. 

Supervising Producer: Josephine Martorana. 

Executive Producer: Chris Bannon. 

Logo design: Teddy Blanks and Aaron Nestor.

Hemingway Sisters Muffet, Margaux and Mariel with their father Jack

Hemingway Sisters Muffet, Margaux and Mariel with their father Jack

Cass Elliot, Carnie Wilson and Fat-Shaming in Rock and Pop (Make Me Over, Episode 6) by Karina Longworth

Listen to this episode on Apple Podcasts

Cass Elliot didn’t die eating a ham sandwich. But the lasting power of that urban legend speaks to a far darker story. Elliot possessed one of the most influential voices of the 1960s. However, while her big break with The Mamas and The Papas and meteoric career changed the LA music scene forever, it also entrapped Elliot in a cycle of fat-shaming, sending her spiraling into catastrophic weight-loss regimens. In this episode, we’ll talk about the music industry’s complicated relationship with weight, how crash dieting likely led to the untimely death of this music legend, and the true legacy of Elliot in pop culture.

This episode was written and performed by Lexi Pandell, a writer from Oakland, California. Her work has been published by The Atlantic, The New York Times, WIRED, The New Republic, Condé Nast Traveler, GQ, Playboy, and many others.

Mamas & Papas c. 1967

Mamas & Papas c. 1967

SHOW NOTES: 

Sources specific to this episode:


Dream a Little Dream of Me by Eddie Fiegel

Go Where You Wanna Go: The Oral History of The Mamas and The Papas by Matthew Greenwald

American Legends: Mama Cass by Charles Rivers Editors

Reducing Bodies: Mass Culture and the Female Figure in Postwar America by Elizabeth Matelski

California Dreamin’ by Michelle Phillips

The Mamas & the Papas: Behind the Music from VH1, 1998

E! True Hollywood Story: Mama Cass Elliot, 1996

“Mama Cass: A Myth, Larger Than Life,” July 31, 1992, Entertainment Weekly

“California Dreamgirl,” December 2007, Vanity Fair

“Sink Along with Mama Cass,” June 1, 1969, Esquire

“What a Way to Lose 110 Pounds!” March 1969, The Ladies Home Journal

“The Untold Story: Cass Elliot’s Daughter On the Crushing Fat-Shaming Her Mother Endured,” May 24, 2019, NextTribe

“Cass Elliot, Pop Singer, Dies; Star of the Mamas and Papas,” July 30, 1974, The New York Times

“How Karen Carpenter's Death Changed the Way We Talk About Anorexia,” May 23, 2016, Time

“Wilson Phillips’s California Dream,” May 17, 1990, Rolling Stone

“Carnie Wilson Says She Was Weighed and Fat-Shamed by Howard Stern: 'I Was Devastated',” November 8, 2017, People

Excerpts from the following television shows and films were used throughout the episode:

The Mamas & the Papas: Behind the Music from VH1, 1998

Austin Powers: International Man of Mystery, 1997

Man of the Year, 2006

The Mike Douglas Show, 1970

E! True Hollywood Story: Mama Cass Elliot, 1996

The Dinah Shore Show, 1972

Different - Cass Elliot featured in Pufnstuf, 1970

The Carol Burnett Show, Season 4, Episode 8, 1970

The Carol Burnett Show, Season 5, Episode 4, 1971

The Red Skelton Show, 1971

The Tonight Show, 1974

The Talk, November 8, 2017

Carnie Wilson: Unstapled, 2010

Cass Elliot, 1967 Photo by Jerry Schatzberg/Getty Images

Cass Elliot, 1967 Photo by Jerry Schatzberg/Getty Images

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.  

Excerpts from the following songs were used throughout the episode: 

California Dreamin’ - The Mamas and The Papas
Creeque Alley - The Mamas and The Papas
Home Fires - Preservation Hall, Jenson Navarro
Summer Of Love - Christophe Marie Alai Deschamps , Brisa Roché
Picking Daisies - Dominique Gabriel Joseph Depret
Sometime - Rebecca Ruth Hall
Caribbean Fun - Gerhard Narholz
Nice To Meet You - Silvain Vanot
The Face - Julien Guillaume Yves Bonneau, David Alphonse Pierre Krutten, James Sheppard
Water Rising - Gareth David Dickson
One Emotion - Vasco, Jeremy Noel William Abbott
Snowmen - Kai Engel

Cass Elliot.jpg

Credits:

Make Me Over is a special presentation of You Must Remember This. It was created and directed by Karina Longworth, who also edited the scripts.

This episode was written and performed by Lexi Pandell.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Producer: Tomeka Weatherspoon. 

Editor: Jared O'Connell.

Audio engineers: Jared O'Connell, Andrea Kristins and Brendan Burns. 

Supervising Producer: Josephine Martorana. 

Executive Producer: Chris Bannon. 

Logo design: Teddy Blanks and Aaron Nestor.

Wilson Phillips, 1991

Wilson Phillips, 1991

Esther Williams and the Birth of Waterproof Makeup (Make Me Over, Episode 5) by Karina Longworth

Listen to this episode on Apple Podcasts.

Esther Williams single-handedly helped to popularize the past time of swimming, first as the star swimmer of the San Francisco production of Billy Rose's Aquacade, and then as the star of Hollywood films like Bathing Beauties and Million Dollar Mermaid. Williams’s stardom—and the necessity to maintain her image as a grinning glamour girl, even while submerged underwater—led to the creation of several waterproof products and swimwear innovations, from waterproof foundation and eyeliner to bathing cap couture. Despite two decades of sustained celebrity and brand power, Williams eventually struggled to maintain the pristine bathing beauty facade. She lost her MGM contract in the 1960s and had to pay millions to the studio in damages; on her way down, she slapped her name on swimming pools and exercise videos, stumbled through four unhappy marriages and started to experiment with taking LSD for her depression. Drawing on previously untapped resources, Rachel Syme will tell the story of Williams' rise and fall, and the innovations in aqua-beauty she inspired, while also analyzing why we want to be waterproof, why we want to be so invulnerable to the elements—and why putting swimming on-screen led to extra pressures for women to look put-together, even when sopping wet. 

This episode was written and performed by Rachel Syme, a writer, reporter and cultural critic living in New York City. who writes a regular column for The New Yorker on fashion and beauty. She is also a regular contributor to The New York Times Magazine, GQ, Vanity Fair, and Esquire. She often writes about the complex intersection between fame, glamour, beauty, and feminism.

Poster - Million Dollar Mermaid_07.jpg
Esther Williams and Tom and Jerry in Dangerous When Wet (1953)

Esther Williams and Tom and Jerry in Dangerous When Wet (1953)

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.  

Excerpts from the following songs were used throughout the episode: 

Better Late Than Never - Laurence Holloway
Hollywood Forever - Jean Claudric
Make Believe You're A Hero - John Harry Cacavas, Hal David
How About Mine - John Harry Cacavas, Hal David
Two Latin Lovers - John Harry Cacavas, Hal David
Can't Get You Out Of My Mind - John Harry Cacavas, Hal David
Kitsch Comedy - Peter Jeffries
Wrong Track - Philippe Jacques Marie Hersant
Love Pain - Bruno Raymond Bertoli
Tragical Destiny - Bruno Raymond Bertoli
Escape In The Dark - Jean Claudric
Meet The Host - Max Harris
Johnny Ubiquitous - Trevor Duncan
A Life Of Memories - Jean Claudric

Esther Williams applying her makeup c. 1956

Esther Williams applying her makeup c. 1956

Credits:

Make Me Over is a special presentation of You Must Remember This. It was created and directed by Karina Longworth, who also edited the scripts.

This episode was written and performed by Rachel Syme.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Producer: Tomeka Weatherspoon. 

Editor: Jared O'Connell.

Audio engineers: Jared O'Connell, Andrea Kristins and Brendan Burns. 

Supervising Producer: Josephine Martorana. 

Executive Producer: Chris Bannon. 

Logo design: Teddy Blanks and Aaron Nestor.

e8f30f23e8301a273488ad2d032a7235.jpg

Passing for White: Merle Oberon (Make Me Over, Episode 4) by Karina Longworth

Listen to this episode on Apple Podcasts

In 1935, Merle Oberon became the first biracial actress to be nominated for a Best Actress Oscar, an incredible achievement in then-segregated Hollywood -- except that nobody in Hollywood knew Oberon was biracial. Born in Bombay into abject poverty in 1911, Oberon's fate seemed sealed in her racist colonial society. But a series of events, lies, men, and an obsession with controlling her own image -- even if it meant bleaching her own skin -- changed Oberon's path forever.

This episode was written and performed by Halley Bondy, a writer and journalist whose work has appeared in NBC, The Outline, Eater NY, Paste Magazine, Scary Mommy, Bustle, Vice, and more. She's an author of five young adult books, a handful of plays, an is a writer/producer for the podcast "Masters of Scale." She lives in Brooklyn with husband/cheerleader Tim, and her amazing toddler Robin.

Merle Oberon and Leslie Howard in the Scarlet Pimpernel, 1934

Merle Oberon and Leslie Howard in the Scarlet Pimpernel, 1934

Fredric March and Merle Oberon, The Dark Angel, 1935

Fredric March and Merle Oberon, The Dark Angel, 1935

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.  

Excerpts from the following songs were used throughout the episode:

The Black Dahlia - Paul Martin Pritchard
A Deep Longing -  Laurent Eric Couson
Psychotic Mind - Patrick Thomas Hawes
Evening Papers - Geoffrey Peter Gascoyne
Blue Moan - Keith Charles Nichols
Sunset on Happiness - Laurent Eric Couson
Hollywood Holiday - Frank Samuels
Lonely Landscape - David Snell
Maze - Piotr Moss
Sentimental - Peter Yorke
Melancholy Feel - Mike Sunderland
Affairs of the Heart - Frederick Humphries
Tendre Billet Doux - Pierre Marcel Thierry Blanchard
Black Virgin - Piotr Moss
Voltar A Alfama - Marc-Olivier Nicolas Dupin,Christian Toucas
Farewell - Roman Raithel
A Picture of You - Roman Raithel

Screen Shot 2020-02-03 at 11.35.57 AM.png

Credits:

Make Me Over is a special presentation of You Must Remember This. It was created and directed by Karina Longworth, who also edited the scripts.

This episode was written and performed by Halley Bondy.

Additional research by Kristen Sales. 

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Producer: Tomeka Weatherspoon. 

Editor: Jared O'Connell.

Audio engineers: Jared O'Connell, Andrea Kristins and Brendan Burns. 

Supervising Producer: Josephine Martorana. 

Executive Producer: Chris Bannon. 

Logo design: Teddy Blanks and Aaron Nestor.

Merle-Oberon-Feet-3396147.jpg

Marie Dressler, the First Female Star to Conquer Hollywood’s Ageism (Make Me Over, Episode 3) by Karina Longworth

Listen to this episode on Apple Podcasts

In 1933, the biggest female star in American movies wasn’t a sex symbol like Greta Garbo, Jean Harlow, or Marlene Dietrich. It was Marie Dressler — homely, overweight, and over 60 years old. The public loved nothing better than to see their Marie play a drunk or a dowager and steal every scene from the glamour girls less than half her age. Dressler had been down and out for most of the 1920s. That she became a star at age 60 was an achievement that told Depression-battered audiences it was never too late. Today we take a look at the life of Marie Dressler; from Broadway, to the picket lines, to the breadline and to the Oscar podium, she proved that in some cases, Hollywood stardom can be more than skin-deep.

This episode was written and performed by Farran Smith Nehme, who has written about film and film history for the New York Post, the Wall Street Journal, Barron’s, the New York Times, Film Comment, Sight & Sound, Criterion, and at her blog, Self-Styled Siren. Her novel, Missing Reels, was published in 2014.

Charles Chaplin, Marie Dressler, Mabel Normand, and Peggy Page in Tillie's Punctured Romance, 1914

Charles Chaplin, Marie Dressler, Mabel Normand, and Peggy Page in Tillie's Punctured Romance, 1914

Greta Garbo and Marie Dressler in Anna Christie, 1930

Greta Garbo and Marie Dressler in Anna Christie, 1930

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.  

Excerpts from the following songs were used throughout the episode:

When Pictures Learned To Move - Roman Raithel
Sweet Annabelle -  Sam Fonteyn
Tell Me What You Know -  Jess Ellis Knubis
Twitten Twirlings - Miles Dylan, Harry Spencer
Dancing Society - Robert Sharples
The Great Depression - Geoffrey Peter Gascoyne
Old Slapper - Geoffrey Peter Gascoyne
Oh What Fun - Frederick George Charrosin
Yacht Club - Alain Francois Edouard Bernard
Radio Days - Nicolas Wilhem Mollard
Swing Nocturno - Otto Sieben
A Picture of You - Roman Raithel
Paris Blues - Marc-Olivier Nicolas Dupin
Periodicality - Laurent Dury

MV5BZDBiYzU3OWYtNzQyZC00ZjlkLWI1MzktNzBkZDlkZjg5YWE1XkEyXkFqcGdeQXVyMTcyODY2NDQ@._V1_.jpg

Credits:

Make Me Over is a special presentation of You Must Remember This. It was created and directed by Karina Longworth, who also edited the scripts.

This episode was written and performed by Farran Smith Nehme. 

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Producer: Tomeka Weatherspoon. 

Editor: Jared O'Connell.

Audio engineers: Jared O'Connell, Andrea Kristins and Brendan Burns. 

Supervising Producer: Josephine Martorana. 

Executive Producer: Chris Bannon. 

Logo design: Teddy Blanks and Aaron Nestor.

Marie-Dressler-TIME-1933.jpg

Hollywood’s First Weight Loss Guru: Madame Sylvia (Make Me Over, Episode 2) by Karina Longworth

MadameSylvia.jpg

Listen to this episode on Apple Podcasts.

Glamourous and shrewd, Sylvia of Hollywood became the movie industry’s first weight-loss guru during the end of the silent era. An immigrant of mysterious origin, she would cannily market herself to clients like Gloria Swanson, who she promised to ‘slenderize, refine, reduce, and squeeze’ into shape. But her taste for gossip and publicity would become her downfall in the 1930s when she published a catty tell-all memoir about her star clients. 

This episode was written and performed by Christina Newland, an award-winning journalist on film, pop culture, and boxing at Sight & Sound Magazine, Little White Lies, VICE, Hazlitt, The Ringer, and others. She loves ‘70s Americana, boxing flicks, fashion, and old Hollywood lore. She was born in New York and lives in Nottingham, England.

SHOW NOTES:  

Sources specific to this episode:

Hollywood Undressed: Observations of Sylvia as Noted by her Secretary 

No More Alibis by Sylvia of Hollywood 

Streamline Your Figure by Sylvia of Hollywood 

Pull Yourself Together Baby by Sylvia of Hollywood 

Gloria Swanson: Ready for Her Close-Up by Tricia Welsch 

Calories and Corsets by Louise Foxcroft 

Hollywood and the Rise of Physical Culture by Heather Addison 

Sylvia of Hollywood and Physical Culture, 1920-1940, by Amanda Regan

‘The Mogul in Mr. Kennedy’, by Cari Beauchamp, Vanity Fair, April 2002 

‘Sylvia Returns - To Restore You to Beauty’, by Madame Sylvia, Photoplay, Oct 1936. 

‘Is Mae West Skidding on the Curves?’, by Madame Sylvia, Photoplay, Dec 1936 

‘How Sylvia Insured Jean Harlow’s Success,’ by Madame Sylvia, Photoplay, Sep 1933 

‘Sylvia Gives Clara Bow Some Timely Advice,’ by Madame Sylvia, Feb 1934 

‘Can Beauty be Hand Made?’, by Gary Strider, Screenland, Jan 1930

‘Diet: The Menace of Hollywood,’ by Katherine Albert, Photoplay Jan 1929

‘Famous Masseuse Denies She Has Offended Stars’, by Audrey Rivers, Movie Classic, Oct 1931

‘Sylvia Writes Story About Film Colony, by Hubbard Keavy, Tampa Bay Times, 20 July 1931 

‘Screen’s Sylvia Rubs Out #1, Weds A Leiter’, NY Daily News, 6 July 1932 

‘Ginger Sues Broadcaster for Saying She Needs Diet,’ NY Daily News, 24 March 1934 

‘Sylvia of Hollywood Tells Her Reducing Secrets’, St. Louis Star Times, 24 March 1936 

Nellie Revell Radio Show, NBC, 1934, digitized by Amanda Regan

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.  

Excerpts from the following songs were used throughout the episode:

Springtime in the Park - Paul Lenart, Bill Novick
The Grand Ball - Thomas Richard Peter Howe, Stephen Christopher Tait
Evening Papers - Geoffrey Peter Gascoyne
Blue Moan - Keith Charles Nichols
The Great Depression - Geoffrey Peter Gascoyne
Sick And Tired - Geoffrey Peter Gascoyne
Smoky Sunday - Geoffrey Peter Gascoyne
When Pictures Learned To Move - Roman Raithel
Farewell - Roman Raithel
A Picture of You - Roman Raithel

madame-sylvia-hollwood-weight-loss_1_ed8d0bf72fe6a9fcd83dae269120a50d.jpg

Credits:

Make Me Over is a special presentation of You Must Remember This. It was created and directed by Karina Longworth, who also edited the scripts.

This episode was written and performed by Christina Newland. 

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Producer: Tomeka Weatherspoon. 

Editor: Jared O'Connell.

Audio engineers: Jared O'Connell, Andrea Kristins and Brendan Burns. 

Supervising Producer: Josephine Martorana. 

Executive Producer: Chris Bannon. 

Logo design: Teddy Blanks and Aaron Nestor.

Hollywood’s First Weight Loss Surgery: Molly O’Day (Make Me Over, Episode 1) by Karina Longworth

MollyODay.jpg

Listen to this episode on Apple Podcasts

At the age of 18, actress Molly O’Day’s career showed great promise—the only thing holding her back was a bit of pubescent pudge. When diets failed, she became the guinea pig of Hollywood's first highly-publicized weight loss surgery. This was in 1929, and the procedure was, as one fan magazine described it "dangerous...and all in vain." What lead Molly to such desperation? And what happened after the surgery her former lover, actor George Raft, declared “ruined her health, her career, and damn near killed her”?

This episode was written and performed by Megan Koester. Megan Koester is a writer, comedian, and Daughter of the Golden West; LA Weekly (before it was taken over by right-wingers, mind you) listed her as a "comic to watch," saying her "sets are as dark, self-effacing and in-the-moment as they come." She co-authored the Audible Original The Indignities of Being a Woman with Merrill Markoe and recently released her debut stand up album, Tertium Non Datur, on aspecialthing records.

SHOW NOTES:  

This episode touches on an aspect of Buster Keaton’s post-MGM attempt at a comeback. For more context on Buster and how his disastrous stint at MGM left his career crippled at the point that his story dovetails with Molly O’Day’s, listen to our episode on Keaton from 2015.

Sources specific to this episode:

“Diet, the Menace of Hollywood” by Katherine Albert, Photoplay, January 1929 

“The Flesh and Blood Racket: Vanity Drives Hollywood to Suffer the Horrors of the Surgeon’s Knife” by Dorothy Manners, Motion Picture Magazine, April 1929

"Love Scene Recipe is Discovered: Cultivate Mild Infatuation with Leading Man, Advice of Molly O’Day” Los Angeles Times, October 16, 1927 

"Does Nicely, Thank You: Sally O'Neil is Irish, Lovely and 18, and Well on Way to Stardom” by Alma Whitaker, Los Angeles Times, March 13, 1927 

“‘Kid’ Nearly Flawless Film: Richard Barthelmess Gives Great Performance” by Marquis Busby, Los Angeles Times, March 2, 1928

“Molly Has Own ‘Slogan’ as She Plans Comeback” Mansfield News Journal, January 21, 1937

“‘Vagabond’ Nominates Its Baby Star; Defies Wampas Selections” Hollywood Vagabond, March 31, 1927

“Hollywood High Lights” by Edwin and Eliza Schallert, Picture-Play Magazine, December 1928

“Starving Back to Stardom: The Sad Story of Molly O’Day, Whose Career Was Blighted by Ice Cream and Candy” by Lois Shirley, Photoplay, August 1928

“Molly Gives Up ‘Three Squares,’ Two Very Meager Meals Every 24 Hours Now Miss O’Day’s Limit” by Dan Thomas, Syracuse Herald, June 3, 1928

“3 Mos for 25 Lbs” Variety, October 26, 1927

“F.N. Abandons Molly to Own Weight Fight” Variety, July 4, 1928 

“Sliced Hips and Legs Save Miss Molly O’Day” Variety, September 19, 1928

Hollywood and the Rise of Physical Culture by Heather Addison

“Reducing Herself to Riches: Doris Dawson’s Soul-Struggle is Caused by a Hunger for Both Cake and a Career” by Dorothy Manners, Motion Picture Classic, July 1928

“Avoirdupois is Stern Foe for Film Actresses” Indiana Evening Gazette, August 8, 1928

“Liposuction — the Evolution of the Classical Technique” by Yves-Gerard Illouz, PMFA Journal, April 1, 2014

“Surgeon Carved Off Mollie O’Day’s Fat — But It Came Back” San Antonio Light January 20, 1929 

“Beauty Doc Sued Again for ‘Error’: Dr. Griffith Once Paid Minnie Chaplin $30,000 — Now W.H. Scott Wants $100,000” Variety, August 10, 1927

George Raft by Lewis Yablonsky

“Weight-Reducing Molly O’Day is Losing Out” Variety, December 12, 1928

“Gossip of All the Studios” by Cal York, Photoplay, April 1929

“Am I My Brother’s Keeper?” by Jane Stewart, The Modern Screen Magazine, November 1930

“Easy Come, Easy Go in Movies; Sisters Now Are Bankrupt” Albuquerque Journal, November 10, 1930

“R-K-O Does Everything But Act for Picture Duo” Variety, May 14, 1930 

“Sally O’Neil and Molly O’Day: Talk and Singing”, Variety, June 4, 1930

“One-Day Stars: Were These Players Equipped for One, and Only One, Great Role?” by Madeline Glass, Picture Play Magazine, April 1932

My Wonderful World of Slapstick by Buster Keaton

“Hot From Hollywood...With the News Sleuth” by Hal E. Wood, Hollywood Magazine, May 1934

“Hollywood’s Film Shops” by Alanson Edwards, South Haven Daily Tribune, May 21, 1934

“Scene as Flames Rage in Motion-Picture Plant: Actors Flee for Their Lives as Fire Sweeps Film Studio” Los Angeles Times, June 7, 1937

“Divorces” Billboard, July 28, 1951

“Sand Doin’s” Palm Springs Desert Sun, December 15, 1950

“Molly O’Day Hit By Egg, Gets Decree” Long Beach Press Telegram, August 9, 1956 

“Divorce, Molly O' Day” Los Angeles Examiner Photographs Collection, July 10, 1951

Silent Stars Speak: Interviews with Twelve Cinema Pioneers by Tony Villecco

For more information on Molly O'Day, check out "Reels and Rivals: Sisters in Silent Films" by Jennifer Ann Redmond

MV5BMTNiYjc4NzYtZGQ5Mi00M2RmLWE4ZjUtMDhhNjcyODVmOGU3L2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMjUxODE0MDY@._V1_.jpg

Music:

The music used in this episode was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.  

Excerpts from the following songs were used throughout the episode: The Black Dahlia - Paul Martin Pritchard

Devil Heart -  Daniel Horacio Diaz, Andre Paul Marie Charlier
The Silver Screen - David Francis
Life is Harsh - Sophia Lydie, Ginette Domancich
Maze - Piotr Moss
Exotique - Paul Lenart, Bill Novick
Dreamy Reflection - Lorne David Roderick Balfe
Mysterioso Melancholia - Howard Lucraft
Le Clair, l'Obscur - 1st movement - Denis Jean, Maurice Levaillant
Lost In Paris - Geoffrey Peter Gascoyne
La Mondaine - Daniel Horacio Diaz & Andre Paul Marie Charlier
Dixie Blues - Geoffrey Peter Gascoyne
Blue Moan - Keith Charles Nichols

Credits:

Make Me Over is a special presentation of You Must Remember This. It was created and directed by Karina Longworth, who also edited the scripts.

This episode was written and performed by Megan Koester. 

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Producer: Tomeka Weatherspoon. 

Editor: Jared O'Connell.

Audio engineers: Jared O'Connell, Andrea Kristins and Brendan Burns. 

Supervising Producer: Josephine Martorana. 

Executive Producer: Chris Bannon. 

Logo design: Teddy Blanks and Aaron Nestor.

Screen Shot 2020-01-13 at 12.59.49 PM.png